Theatre Review
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Edward II by
Christopher Marlowe In Edward II, Marlowe matches the best of Shakespeare word
for thundering word. By far the best of his histories, this criminally
underperformed orgy of medieval excess, flogged on the twin strengths
of violence and homosexuality, delivers far more than its Spartan
rhetoric deliberately suggests. Director Tom Green calls it 'a brutal,
violent production of a brutal, violent play'; but this does Marlowe
much unkindness - the play, however schematic, is everything but crude.
The harsh tale of the decline and fall of a King deposed by his barons
and despised for his flaws, Edward II works its way through
torrents of rage and oases of quiet, charting the cruel disintegration
and posthumous redemption of a man whose guilt is always left unspoken.
He and Gaveston, the lover upon whom he dotes with wretched eagerness,
bring upon themselves the murderous furies of Court and Queen alike
for their all too public affections, launching themselves on a downward
spiral that ends only in death and destruction. A severed head, a
red-hot poker: the instruments of power are cruel ones, and a hint
of symbolism pervades this stirring production - a production held
back only by an apoplexy of verbal fury in the first half and some
entertainingly incompetent music. The acting is uniformly excellent: Richard Madely's King Edward belongs
on a greater stage than this, his agonies of hushed despair and artless
devotion to his beloved Gaveston equally stunning. Mike Tweddle, an
inspiringly dynamic gay Mosca, prances without ever overdoing his
treasured camp, irresistibly charming in his opening soliloquy, increasingly
complex thereafter. The barons all impress through sheer power if
not variety, Jessica Burton's Lancaster an oddly grotesque whippet,
raging without respite. Leander Deeny's Mortimer is always compelling,
if occasionally lost in his frenzied delivery, although this improved
with time. Gwyneth Glyn Evans as Edward's wronged Queen, Jonny Fowles
as his loyal brother and Joshua Neicho as Spencer all richly deserve
praise in what is an impressively polished ensemble performance. Moments of genius abound, from the first, glorious battle climax to Richard's exceptional death scene, unnervingly murdered by a reborn Gaveston. Innovative and highly successful use of the balconies is to the great credit of director and play alike, and partly redeems some truly shocking music. On first night evidence, this riveting production can only get better. Truly a highlight of this term's student drama. Thomas Hill, 20 / 2 / 01 |